A June 2017 NRA video entitled "The Clenched Fist of Truth" used an image of "The Bean" sculpture.	2017 年 6 月，一段标题为「紧握的真理之拳」的 NRA 影片使用了《豆子》雕塑品的影像。
Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees.	安尼施·卡普尔要求 NRA 停止播放影片、支付因为影片所获得的任何利润、向他补偿等同于每次侵权 150,000 美元的法定损害赔偿，以及律师费。
The first results of the polls from the reader participation project appeared in the form of the first three short stories which resulted from direct fan involvement in the March 2004 issue of Dengeki G's Magazine.	从读者参与专案票选得出的首批结果，以《电击 G's 杂志》2004 年 3 月号的直接粉丝参与所产生的前三则短篇故事形式呈现。
The stories were written by Sakurako Kimino and illustrated by Chitose Maki.	这些故事是由公野樱子所写，并由真城千都世加上插画。
Over the following months, the stories continued, producing the first story arc named the Etoile Chapter (エトワール編 Etowāru-hen) containing eighteen stories which ran between March and July 2004.	故事在之后的几个月间延续，产生名为《Etoile 之章》(エトワール编 Etowāru-hen) 的第一个故事架构，其中包含在 2004 年 3 月到 7 月间刊登的十八则情节。
Due to the concerns that there was not enough time between the Athletic Festival (an early summer event) and the Cultural Festival (an autumn event), the second, and last, story arc named the Dormitory Panic Chapter (寄宿舎パニック編 Kishukusha Panikku-hen) containing seven stories began the next month, running between August 2004 and January 2005.	因为担心国民体育大会 (夏初活动) 和文化祭 (秋季活动) 之间的时间不足，第二个 (也是最后一个) 含有七则情节且名为《宿舍恐慌之章》(寄宿舎パニック编 Kishukusha Panikku-hen) 的故事架构次月才开始，在 2004 年 8 月到 2005 年 1 月之间刊登。
The second arc's stories, which were longer than the earlier pieces, involved taking one of the three main characters, performing coupling for them with one of the other eleven girls and presenting them in various situations.	第二个架构的故事比先前的作品更长，其中撷取了三个主角之一，将他们与其他十一个女孩之一进行配对，并在不同的情境中介绍她们。
None of the original stories were ever published again in bound volumes.	其中没有任何原创故事曾经再次以合订本发行。
The stories themselves were more or less vignettes, in which each gave a brief glimpse into what was referred to as a "yuri coupling".	故事本身多少都有小插曲，其中每个小插曲都让人简短一窥「百合配对」所指为何。
Between May and September 2005, a revised series of the short stories was produced; once per month, five more supplementary short stories were published during this time period, each of which was longer than any of the previous pieces.	2005 年 5 月到 9 月之间创作了短篇故事的修订系列；这段期间 (每个月一次) 发行了五则额外的补充短篇故事，而且每个都比先前任一作品都长。
Although each individual story had its own title, the stories were under the collective title of "The Girls, who art in heaven".	虽然每个单独的故事都有自己的标题，但故事都归在「女孩，让天堂充满艺术」的共同标题之下。
After the ending of this short compilation in September 2005, it was decided that the original illustrator, Chitose Maki, would be replaced by Namuchi Takumi for future Strawberry Panic!	这个短总集在 2005 年 9 月结束之后，日后的《草莓狂热！ 》专案就决定以巧奈梦智取代原始插画家真城千都世
The show was hosted by Mai Nakahara, who voiced Nagisa Aoi in the anime edition, and Ai Shimizu, who voiced both Tamao Suzumi and Kizuna Hyūga in the anime.	节目由动画版本中为苍井渚砂配音的麻衣，以及在动画中同时为凉水玉青和日向绊奈配音的清水爱主持。
The show contained sixty-one episodes, which were divided between three CDs; the first went on sale on March 8, 2006.	节目包含六十一集，分成三片 CD；第一片在 2006 年 3 月 8 日开始发售。
The other two releases came out on July 5, 2006, and January 11, 2007, in Japan.	其他两个版本在 2006 年 7 月 5 日和 2007 年 1 月 11 日于日本发行。
The radio show included nine guests who had played other voice acting roles in the anime version, and Rino, singer of the opening theme "Sweetest" in the PlayStation 2 game version.	这个广播节目包括在动画版本中扮演过其他配音角色的九位来宾，以及 PlayStation 2 游戏版本开场主题曲《最甜蜜》的歌手 Rino。
The Strawberry Panic!	《草莓狂热！ 》
manga, written by Sakurako Kimino and illustrated by Namuchi Takumi, was serialized in Dengeki G's Magazine between September 30, 2005, and February 28, 2007, with a new chapter released once a month.	漫画由公野樱子所编写，并由巧奈梦智加上插画，在 2005 年 9 月 30 日到 2007 年 2 月 28 日之间于《电击 G's 杂志》上连载，每个月发行一个新的章节。
Two bound volumes have been published in Japan under MediaWorks' Dengeki Comics label.	在日本曾以 MediaWorks 的 Dengeki Comics 商标发行两本合订本。
The first went on sale on March 27, 2006, featuring Nagisa and Shizuma on the cover, and the second volume came out on October 27, 2006, featuring Nagisa and Tamao on the cover.	第一本在 2006 年 3 月 27 日发售，封面主打渚砂和静马，第二本则在 2006 年 10 月 27 日推出，封面主打渚砂和玉青。
The education system is monitored by the District Education Officer (EDO) of the City District Government of Faisalabad.	由费萨拉巴德 (Faisalabad) 市区政府的区教育长 (EDO) 负责监督教育系统。
The city government reports its findings to the Ministry of Federal Education and Professional Training and the Minister for Education.	市政府向 Ministry of Federal Education and Professional Training (巴基斯坦教育与职业训练部) 及 Minister for Education (教育部长) 报告其调查结果。
Funding is provided by the Government of Punjab, Pakistan, City District Government and the fees collected from schools.	由 Punjab、巴基斯坦、市区政府及学校募集的费用提供资金。
There are four levels of the education system in the city: Primary, Elementary, High and Higher Secondary Level.	该市的教育系统分为四级：小学、中学、高中及高等教育。
Primary level education is only compulsory.	小学是义务教育。
There are a number of schools for the assistance of children with special needs.	有数所学校协助有特殊需求的儿童。
The Pakistan Electronic Media Regulatory Authority (PEMRA) is responsible for the regulation and monitoring of electronic media entertainment in the country.	巴基斯坦电子媒体监管局 (Pakistan Electronic Media Regulatory Authority, PEMRA) 负责监管和监控该国的电子媒体娱乐。
Pakistan Television Corporation, is the state-owned regulated television broadcasting network.	巴基斯坦电视公司 (Pakistan Television Corporation) 是国营企业且由国家监管的电视广播网路。
The government began licensing private broadcasters in 2002.	该国政府于 2002 年开始发执照给广播公司。
The government of Pakistan installed the first radio transmitters in the city on 15 September 1982.	巴基斯坦政府于 1982 年 9 月 15 日在该安装了第一台无线电发射器。
"Radio Pakistan" broadcasts three government regulated FM stations: "Radio Pakistan FM101, Radio Pakistan FM93 and Radio Pakistan Sautul Qur'an Channel FM93.4. FM101 became operational in 2002, FM93 went live in 2010 and FM93.4 Sautul Qur'an Channel went live in 2016; PBC all three stations are standard power KW 2.5.	"Radio Pakistan" (巴基斯坦广播电台) 广播三个政府监管的 FM 电台："Radio Pakistan FM101、Radio Pakistan FM93 和 Radio Pakistan Sautul Qur'an Channel FM93.4。FM101 于 2002 年投入营运、FM93 于 2010 年开播，而 FM93.4 Sautul Qur'an Channel 于 2016 年开播；PBC 所有三个电台都使用标准功率 KW 2.5。
Pakistan Telecommunication Authority is a government-owned organisation that is responsible for the establishment, operation and maintenance of telecommunications in the city.	巴基斯坦电信管理局 (Pakistan Telecommunication Authority) 是国营组织，负责该市电信的建立、营运及维护。
The organisation monitors and prevents illegal exchanges in the city.	该组织监控并防止该市的非法交易所。
Pakistan Telecommunication Company Limited is the main provider of fixed line, mobile and broadband services.	巴基斯坦电信有限公司是市话 (固网)、行动及广播服务的主要提供者。
Regional headquarters is located at the Central Telecom House in Chinot Bazaar.	地区总部位于 Chinot Bazaar 的中央电信大楼 (Central Telecom House )。
With the deregulation of the telecommunication sector by the Ministry of Information Technology, a range of companies now offer mobile and broadband services in the city.	随着资讯技术部 (Ministry of Information Technology) 放松对电信领域的管制，现在有各式各样的公司在该市提供行动及广播服务。
In 2008, the Government of Pakistan lifted a forty-year ban on Bollywood films which allowed Indian films to be played in cinemas.	2008 年，巴基斯坦政府解除对宝莱坞电视四十年的禁令，允许在电影院播放印度电影。
The cinema industry has since seen the introduction of new cinemas such as Cinepax by Hotel One, and Cine Nagina.	此后，电影业推出新的电影院，例如 Hotel One 的 Cinepax 以及 Cine Nagina。
The Government College University in Faisalabad encourages students from the University of Agriculture to hold workshops and explore themes of peace and tolerance which can be used in an engaging and entertaining way to communicate complex issues to different audiences.	费萨拉巴德政府学院大学 (Government College University) 鼓励农业大学 (University of Agriculture) 举办讲习班，探讨和平与寛容等主题，用引人入胜和娱乐方式传达复杂的问题，让受众容易理解。
In its original American broadcast on March 10, 2002, "The Old Man and the Key" received a 7.9 rating, according to Nielsen Media Research, translating to approximately 7.9 million viewers.	根据尼尔森媒体研究公司 (Nielsen Media Research) 的数据，《The Old Man and the Key》在 2002 年 3 月 10 日的美国首播中，获得 7.9 收视率，吸引大约 790 万观众。
The episode ranked 19 in the top 25 most watched television programs the week it aired.	该剧集在播出当周收视率最高的 25 个电视节目中排名第 19 名。
Later in 2002, "Ode to Branson" was nominated for the Primetime Emmy Award for Outstanding Music And Lyrics, which it ultimately lost to a score from BBC's nature documentary The Blue Planet.	2002 年稍晚时候，《Ode to Branson》被提名为黄金时段艾美奖最佳音乐与歌词奖，最终输给了 BBC 自然纪录片《蓝色星球》(The Blue Planet) 的配乐。
In 2007, the song was included on the soundtrack album The Simpsons: Testify.	2007 年，这首歌被收录在原声带专辑《辛普森一家：作证》(The Simpsons: Testify) 中。
Following the thirteenth season's release on DVD and Blu-ray, "The Old Man and the Key" received mixed reviews from critics.	在第十三季以 DVD 和蓝光版发行后，《The Old Man and the Key》(老人与钥匙) 受到了评论家的褒贬不一的评价。
Writing for Project:Blu, Nate Boss stated that Grampa "just isn't all that funny when cornered, and that's what we get here," and that "the jokes are a bit too few and far between".	Nate Boss 在为 Project:Blu 撰稿时表示，Grampa「在走投无路时并不是那么有趣，这就是我们在这里得到的」，并且「笑话有点太少了，而且相距甚远」。
Giving the episode a negative review, Ryan Keefer of DVD Talk wrote that it was "borderline painful" and one of the season's "duds".	DVD Talk 的 Ryan Keefer 对这一集给予负面评价，他写道，这是「边缘痛苦」，也是本季的其中一个「哑弹」。
Casey Broadwater of Blu-ray.com wrote that the episode "moves at a geriatric pace", and R. L. Shaffer of IGN stated that it "represent[s] some of the worst of The Simpsons." On the other hand, giving the episode a positive review, Ron Martin of 411Mania enjoyed the "poke towards Branson, Missouri, a mecca for old people everywhere," and Jennifer Malkowski of DVD Verdict gave the episode a B rating.	Blu-ray.com 的 Casey Broadwater 写道，这一集「以老年的步调发展」，IGN 的 R. L. Shaffer 表示，这一集「代表了《辛普森一家》中最糟糕的部分」。另一方面，411Mania 的 Ron Martin 对这一集给予推崇评价，他喜欢「戳向密苏里州布兰森 (Branson, Missouri)，这是各地老年人的圣地」，而 DVD Verdict 的 Jennifer Malkowski 则给这一集评为 B 级。
Colin Jacobsson of DVD Movie Guide wrote that, even though Grampa is "essentially a one-joke personality," "those gags tend to be pretty fun." He concluded his review by writing that the episode was "a likable program."	《DVD 电影指南》(DVD Movie Guide) 的 Colin Jacobsson 写道，尽管 Grampa「本质上是个性笑话」，这些笑话往往很有趣。 「他在评论的最后写道，这一集是讨人喜欢的节目。」
Despite the mixed responses, the episode features one of the "most used little clips" of the series.	尽管所获评价有好有坏，但这一集是该系列「最常用的小片段」之一。
The scene shows Grampa getting his driver's license.	这个场景显示 Grampa 获得了驾驶执照。
Instead of taking a photo for the license on the spot, Grampa suggests that Selma, who works in the facility, use a photo of him from a newspaper headline that reads "Old man yells at cloud." Selma agrees, and Grampa, holding his newly acquired license, goes up to a window and yells "Who's laughing now?" at a cloud.	Grampa 建议在设施中工作的 Selma 使用报纸标题中的他的照片，上面写着「老人对着云大喊大叫」，而不是当场拍摄执照照片。 Selma 同意了，Grampa 拿着他新获得的执照，走到一扇窗户前，对着云层大喊「现在谁在笑？」。
A still from the scene has been used several times on The Daily Show.	在《每日秀》(The Daily Show) 上多次使用此场景的剧照。
Both Malkowski of DVD Verdict and Jacobsson of DVD Movie Guide considered it to be the best part of the episode.	DVD Verdict 的 Malkowski 和《DVD电影指南》(DVD Movie Guide) 的 Jacobsson 都认为这是这一集最精彩的桥段。
After Clint Eastwood's speech at the 2012 Republican National Convention, which featured Eastwood talking to an empty chair representing President Barack Obama, a modified version of the image with the caption, "Old man yells at chair", was used in an internet meme.	Clint Eastwood 在 2012 年共和党全国代表大会 (2012 Republican National Convention) 上发表演讲后，Eastwood 在代表 Barack Obama 总统的空椅子上讲话，该图像的修改版本标有标题「老人在椅子上大喊大叫」(Old man yells at chair)，被用于网际网路梗中。
The story crosses the paths of characters from various social and ethnic groups in Los Angeles.	故事与洛杉矶来自不同社会和种族群体的人物相遇。
Forty of the ensemble cast have significant speaking roles, but none takes the part of a main protagonist.	四十名群戏演员都有重要的戏份角色，但没有演员扮演主角的角色。
The story takes place in 1989, against the backdrop of the city's racial tensions of the era and the US invasion of Panama.	故事发生在 1989 年，背景是那段时代的种族紧张局势和美国入侵巴拿马。
At the nominal center is a punk band called Love and Rockets, which shares its name with the English band; the punk band complains stole the name from them (the real-life band formed in 1985 and took its name from the Hernandez's comic book). The band is slated to appear at a party at the bass player's upper-class mother's home, but the performance never takes place in the story.	名义上中心是名为 Love and Rockets 的朋克乐队，与英国乐队同名；朋克乐队抱怨从他们那里偷走了这个名字 (现实生活中的乐队成立于1985年，其名称来自 Hernandez 的漫画书)。乐队计划出现在贝斯手上流阶级母亲家中的派对上，但表演从未在故事中发生。
Rather, the story quickly transitions from character to character, revealing details of each one's personality traits and ethnic, class, sexual, and subcultural backgrounds.	而是，故事迅速从在角色之间轮转，显露每个人的个性特征以及种族、阶级、性和次文化背景的细节。
The story builds in complexity to a chaotic alcohol- and drug-fueled party in which someone almost gets killed; the turbulent narrative then calms and slows into a sequence of wordless panels that pan out into the cosmos.	故事的复杂性在于以酒与毒品为主轴的混乱派对，剧中有人几乎被杀；然后，动荡的叙事平静下来，缓慢成一系列无字的画面，一直延伸到宇宙中。
On its release, reviewer Anne Rubenstein praised Love and Rockets X for expanding the "aesthetic possibilities of graphic narrative"; she recommended it as a starting point for new Love and Rockets readers daunted by the complexity of the earlier stories, and called it "as essential as the rest of the Hernandez canon".	在发行时，评论家 Anne Rubenstein 称赞《爱与火箭X》(Love and Rockets X) 扩展了「图形叙事的美学可能性」；她推荐此作品作为《爱情与火箭》新读者的起点，这些读者被早期故事的复杂性吓倒了，并称它「与埃尔南德斯经典的其余部分一样重要」。
Comics critic R. Fiore placed Love and Rockets X 7th on his list of best English non-strip comics of the 1990s.	漫画评论家 R. Fiore 将《爱情与火箭》排在 1990 年代最佳英国非连环漫画排行榜的第 7 名。
He calls it "a comics equivalent of a Victor Hugo-style social novel" and praises Hernandez for successfully interweaving so many of the quasi-isolated ethnic social milieus of Los Angeles into one narrative, though he found weakness in Hernandez's grasp of their various speech patterns and suggested actual South Americans would have been more appropriate to the real political background than the fictional Palomarians.	他称其为「相当于维克多·雨果 (Victor Hugo) 风格社会小说的漫画」，并称赞Hernandez 成功地将洛杉矶许多准孤立的种族社会环境融合到一个叙事中，尽管他发现 Hernandez 对他们各种说话模式的掌握有弱点，并暗示真正的南美人比虚构的帕洛玛里亚人 (Palomarians) 更适合真实的政治背景。
Reviewer Tom Knapp considered the work "confusing" and "one of the low points" in the Love and Rockets series.	评论家 Tom Knapp 认为这部作品「令人困惑」，是《爱情与火箭》系列中的「低谷之一」。
Douglas Wolk called Love and Rockets X "the prime example of Gilbert's fascinations as a storyteller". F. Vance Neill saw it as an early example of Hernandez's concern with "the values of trust, loyalty, honesty, and community" and "the consequences of failing to adhere to these values" that he explored later in works such as Speak of the Devil (2008) and The Troublemakers (2009).	Douglas Wolk 称《爱与火箭X》是 Gilbert「作为说故事者着迷的典型例子」，F. Vance Neill 认为这是 Hernandez 关注「信任、忠诚、诚实和社区价值观」以及「未能坚持这些价值观的后果」的最典型范例，他后来在《魔鬼之声》(Speak of the Devil) (2008) 和《麻烦制造者》(The Troublemakers) (2009) 等作品中探讨了这一点。
The story's Los Angeles setting anticipated that of Hernandez's post-Palomar stories featuring Luba and her family.	故事的洛杉矶背景预示着 Hernandez 在 Palomar 之后的故事，客串人物为 Luba 和她的家人。
Zeisler and Becker first described a syndrome with multiple lentigines, hypertelorism, pectus carinatum (protruding breastbone) and prognathism (protrusion of lower jaw) in 1936.	Zeisler 和 Becker 于 1936 年首次描述一种综合症，包括多色素痣症 (multiple lentigines)、眼距过宽 (hypertelorism)、鸡胸 (pectus carinatum) (突出的胸骨) 和凸颌 (prognathism) (下颌突出)。
Sporadic descriptions were added through the years.	多年来，增添零星的描述。
In 1962, cardiac abnormalities and short stature were first associated with the condition.	1962 年，心脏异常和身材矮小首次与这种病况有关。
In 1966, three familial cases were added, a mother, her son and daughter.	1966 年，又增加了三个家庭病例，母亲、她的儿子和女儿。
Another case of mother to two separate children, with different paternity of the two children, was added in 1968.	1968 年又增加了母亲与两个分居子女的案例，两个孩子的亲子关系不同。
It was believed as late as 2002 that Noonan Syndrome with Multiple Lentigines (NSML) was related to neurofibromatosis type I (von Recklinghausen syndrome).	直到 2002 年，人们才认为「汝南氏症候群」(Noonan Syndrome) 伴多色素痣症 (NSML) 与 I 型神经纤维瘤 (neurofibromatosis type I) (von Recklinghausen 综合症) 有关。
In fact, since both ICD9 and ICD10 lack a specific diagnosis code for NSML, the diagnosis code for NF1 is still sometimes used for diagnostic purposes, although it has been shown that the gene is not linked to the NF1 locus.	事实上，由于 ICD9 和 ICD10 都缺乏 NSML 的特定诊断代码，NF1 的诊断代码有时仍用于诊断目的，尽管已经表明该基因与 NF1 位点无关。
Hutchison married Mary Kaiakonui, a local resident of Kalaupapa, in 1881, in a ceremony blessed by Father Damien.	1881 年，Hutchison 与卡劳帕帕 (Kalaupapa) 的当地居民 Mary Kaiakonui 结婚，仪式由达米盎神父 (Father Damien) 祝福。
According to historian John Tayman, Mary may have also contracted leprosy and they had a daughter who did not suffer the same infection as her parents.	根据历史学家约翰·泰曼 (John Tayman) 的说法，Mary 可能也感染了麻风病，他们有一个女儿没有遭受与父母相同的感染。
Other sources claimed they were childless.	其他消息来源声称他们没有孩子。
They lived at Hutchison's house, in a part of the settlement called Makanalua.	他们住在 Hutchison 的房子里，位于名为马卡纳罗亚 (Makanalua) 的定居点之一部分。
Kaiakonui cared for her husband as his mea kōkua (caregiver) until her death on May 16, 1905, at the age of forty-seven.	Kaiakonui 以 mea kōkua（照顾者）之姿一直照顾她的丈夫，直到她于 1905 年 5 月 16 日去世，享年四十七岁。
She was buried in the Catholic section of Papaloa Cemetery and a white bronze grave monument marks her final resting place.	她被埋葬在帕帕洛亚公墓 (Papaloa Cemetery) 的天主教区，一座白色青铜纪念碑标志着她最后的安息之地。
His brother's descendants believe that he could be buried next to his wife.	他哥哥的后代认为，他可以被埋葬在妻子旁边。
Members of his family were present at the 2009 canonization of Father Damien in Rome.	他的家人出席了 2009 年在罗马举行的达米盎神父封圣仪式。
In his incomplete will, Hutchison expressed his love for his mother, his wife and the dwindling Hawaiian race:	Hutchison 在他的不完整遗嘱中，表达了他对母亲、妻子和日益减少的夏威夷种族的爱：
For the love and affection I hold for my mother, Maria Mo-a, and Maria Kaiakonui, my wife (deceased), who were of the pure Hawaiian aboriginal ancestry, from whom sprung from and hold dear and my heart longing desire to perpetuate their race from extinction which forecasting shadow of time forbode their doom, which only the power of a mercifull and all loving God can stay, from the evident fate which await them and leaving firm faith in the love and mercy of God, who alone can save and perpetuate and multiply from being effaced from the land, which, by His grace he gave to their forefathers and foremothers and their descendants as a heritage forever and to this end and purpose, I consecrate my worldly estate both real, personal or mixed.	因为我对我的母亲 Maria Mo-a 和我的妻子 Maria Kaiakonui（已故）的爱和感情，他们是纯正的夏威夷原住民血统，从他们那里萌芽并珍视我心中渴望将他们的种族从灭绝中永久化，预测时间的阴影预示着他们的厄运，只有怜悯的力量和所有慈爱的上帝才能留下来，从等待他们的明显命运中，留下对上帝的爱和怜悯的坚定信念，只有上帝才能拯救、永续和繁衍，以免从这片土地上消失，他将他的恩典作为遗产永远赐给他们的祖先、祖母和他们的后代，并且为此目的，我将我的世俗资产奉献给真实、个人或混合。
Described as a "dapper young man with a moustache waxed into long points", he made for a "dynamic figure with a penetrating voice", and was noted for riding his Douglas motorcycle through the 1920s and 30s in his khaki overalls as he traveled between his professional practice, teaching duties and home life.	他被描述为一个「胡子打成长点的轻快年轻人」，他塑造了一个「具有穿透力的动态人物」，并以在 1920 年代和 1930 年代穿着卡其色工作服骑着道格拉斯摩托车而闻名，因为他在他的专业实践、教学职责和家庭生活之间游刃有余。
On the home front, Louis Laybourne Smith married Frances Maude Davies, the daughter of Edward Davies to whom he had been articled, on 9 April 1903.	在家庭方面，Louis Laybourne Smith 于 1903 年 4 月 9 日与 Edward Davies 的女儿 Frances Maude Davies 结婚。
They had three daughters and a son, Gordon Laybourne Smith, who ultimately followed his father into architecture.	他们有三个女儿和一个儿子 Gordon Laybourne Smith，他最终跟随父亲进入了建筑界。
Laybourne Smith "consistently overworked"; architecture was said to be both his profession and his obsession.	Laybourne Smith「一直过度劳累」；据说建筑既是他的职业，也是他的痴迷。
When his firm announced a retirement scheme he declared that he had no intention of retiring, and such proved to be the case—he died at his desk on 13 September 1965 at the age of 85.	当他的公司宣布退休计划时，他宣布他无意退休，事实证明确实如此，他于 1965 年 9 月 13 日在他的办公桌上去世，享年 85 岁。
Despite enjoying her career in the adult film industry, Samson had other ambitions.	尽管 Samson 很享受在成人电影业的职业生涯，但她还有其他的抱负。
In 2005, while on vacation in Tuscany, Italy, she decided she could "leave a mark on this world" by making wine.	2005 年，在义大利托斯卡纳 (Tuscany, Italy) 度假时，她决定通过酿造葡萄酒来「在这个世界上留下印记」。
Then married to a wine merchant,she had frequently traveled to Italy and France, and often fantasized about owning her own vineyard.	后来嫁给了一位葡萄酒商人，她经常去义大利和法国旅行，并经常幻想拥有自己的葡萄园。
When she was a child, she had helped her family make wine in the basement of their house in Watertown, New York.	当她还是个孩子的时候，她曾协肋她的家人在纽约沃特敦 (Watertown, New York) 的房子的地下室酿酒。
She formed the company, Savanna Samson Wines, and asked Italian winemaker and consultant Roberto Cipresso to help find a blend of grapes local to Tuscany that would produce her ideal flavor.	她成立了 Savanna Samson Wines 公司，并要求义大利酿酒师和顾问 Roberto Cipresso 协肋找到托斯卡纳当地葡萄的混合，以调和出她的理想风味。
They eventually chose a mixture of 70 percent Cesanese, 20 percent Sangiovese and 10 percent Montepulciano, which produced a red wine that she named Sogno Uno, meaning 'Dream One.' Its label played on Samson's notoriety as a porn star, featuring a side view of her wearing only a see-through gown and high heels.	他们最终选择了 70% 的 Cesanese，20% 的 Sangiovese 和 10% 的 Montepulciano 的混合物，这酿出一种红酒，她将其命名为 Sogno Uno，意思是「梦想一号」。它的标签在色情明星 Samson 的恶名上发挥了作用，侧视图显示她只穿着透明礼服和高跟鞋。
Wine critic James Suckling gave Sogno Uno a rating of 75 out of 100, and described it as "barely drinkable".	葡萄酒评论家 James Suckling 给 Sogno Uno 的评等是 75 分 (满分 100 分) ，并形容它「几乎不能饮用」。
A gala launch was held for the wine at a Manhattan restaurant on February 27, 2006.	2006 年 2 月 27 日，在曼哈顿的一家餐厅举行了葡萄酒发布会。
By June 2007, her company had produced two more wines.	到 2007 年 6 月，她的公司又生产了两款葡萄酒。
A limited edition of MCMXC a.D. was released on 4 November 1991 with four remixed tracks.	限量版《MCMXC a.D》于 1991 年 11 月 4 日发行，有四首混音曲目。
The original part of the album blends into the first of the four additional tracks, and each of the additional tracks also blend into each other.	专辑的原始部分融合到四首追加曲中的第一首，每首追加曲也相互融合。
This gives the album a sense of continuation from start to finish.	这赋予整张专辑融合的延续感。
One of the remixes, The Returning Silence of The Rivers of Belief, does not appear on any of the singles.	其中一首混音作品《The Return Silence of The Rivers of Faith》没有出现在任何单曲中。
The November 1999 reissue includes six remixed tracks on a second disc.	1999 年 11 月的再版包括第二张唱片中的六首混音曲目。
In March 2016 a numbered Limited Edition was released on Hybrid SACD in Hong Kong.	2016 年 3 月，编号的限量版在香港的 Hybrid SACD 上发布。
Janet B. Blundell, in Library Journal, finds Angelou's poetry lacking in comparison to her prose, and states, "The reader is jarred by stilted, 'poetic' language and stilted, sing-song, school-girlish rhyme".	Janet B. Blundell 在图书馆学刊的文中指出，安杰洛的诗缺少和她的散文与相比的比较，还说「读者被高调、如诗的语句，以及高调、如歌、女学生的韵律所震撼。」
She finds the best poems in Shaker are the ones that are structured like blues music.	她指出摇床诗集中最好的诗，结构都像蓝调音乐。
Mary S. Cosgrove, in Horn Book Magazine, calls the poems in Shaker "a lyrical outpouring of seasoned feelings from the heart and mind", and calls Angelou "musical, rhythmical, and enchanting".  J.T.	在 Horn Book 杂志中，Mary S. Cosgrove 说摇床诗集中的诗是「一种来自心灵深处成熟情感的抒情释放」，也说安杰洛富有「音乐性、节奏感，十分迷人」 J.T.
Keefe, in World Literature Today, says about Shaker": "Deceptively light and graceful, Maya Angelou's poems are lyrical, emotional, melancholy".	Keefe 在今日世界文学中提到摇床诗集时说：「Maya Angelou 的诗很轻柔、优雅、抒情、充满情感、忧郁。」
Keefe compares Angelou's poems to music, especially the music of French singer Édith Piaf, and also states, "These poems are full of shining hurt as, like curving scimitars, they skillfully pierce the hearts of their readers".	Keefe 将 Angelou 的诗与音乐相比，特别是法国歌手 Edit Piaf 的音乐，并说：「这些诗充满了闪亮的伤害，就像把弯弯的剪刀一样，十分技巧地刺穿了读者的心。」
In a commentary made for the 1980 anthology, The Golden Man, Philip K. Dick briefly touched on several themes of the story, including the Christian allegory of the "suffering servant", manifested in the character of Bors.	在一段 1980 年作品选集「黄金单身汉」的评论中，Philip K. Dick 简短地触及故事中的多个主题，包括以 Bors 这个角色来展现的「受苦的仆人」基督教比喻。
This was touched upon in the Dick biography Divine Invasions, by memoirist and biographer Lawrence Sutin.	在由传记作家 Lawrence Sutin 撰写的 Dick 传记 Divine Invasions 中提到了这点。
Drawing on Dick's commentary, Sutin sees Bors as part of a religious pattern in Dick's stories as a "Christ-like robot", and likens the robot to characters in other stories by Dick who suffer from illness.	提及 Dick 的评论时，Sutin 将 Bors 视为 Dick 故事中一个「有如基督的机器人」的宗教部分，把该机器人连结到 Dick 其他故事中因病所苦的角色。
